BTS 방탄소년단 「Run」

Posted on November 29, 2015 commentaires

BTS 「Run」 - from『The Most Beautiful Moment in Life: Young Forever』released on November 29, 2015.

Les BTS sont de mignons rappeurs, mais ils sont aussi bons lorsqu'ils font des chansons mélodiques, et avec une chorégraphie sexy, c'est encore mieux ;)


La version japonaise :


BTS 「Run」 Japanese Ver.- - released on March 15, 2016.

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Jeff Yang 「Into The Badlands’ Daniel Wu Is the Asian American Action Hero That Bruce Lee Should’ve Been」

Posted on November 25, 2015 commentaires

AMC’s new action fantasy series 「Into The Badlands」 slashed its way to a huge premiere last week, making the most of its lead-in from veteran megahit 「The Walking Dead」 to debut with the highest ratings of any new cable or network series this season. The show, which takes place in a dystopian future America ruled by seven ruthless barons, combines ambitiously expansive worldbuilding with breathtakingly elaborate martial arts combat.

This strange and remarkable fusion wouldn’t hold without the stellar performance of protagonist Daniel Wu as Sunny, a lethal human weapon who has taken over 400 lives for his baron, each marked with a tattooed swash on his back. But his years of loyal service are suddenly tested with the arrival of a young man named M.K. (newcomer Aramis Knight), who may hold the key to a brighter world beyond the bloody Badlands.

Born and raised in San Francisco, and now a marquee superstar in Greater China, Wu has been jetting back and forth between his native and adopted homes, bouncing between promotional activities for Badlands and an ongoing movie shoot with legendary Hong Kong action director Ringo Lam.

Slate caught up with Wu on his most recent trip back to the U.S., to discuss the challenges of bringing martial arts to the small screen, righting the wrongs of cinematic history, and how it feels to be that rarest of creatures: an Asian male romantic action lead in Hollywood.

In 「Into The Badlands」, you pretty much stay away from special effects. The action is legit.

That was the whole goal: Bringing legitimate Chinese martial arts cinema to a production with Hollywood-style budgets. When I was a kid, I loved watching kung fu movies — in San Francisco, we had 「Kung Fu Theater」 on TV on Saturdays, and they’d air old Shaw Brothers movies with English dubbing, things like that. Then one day my grandfather said to me “You want to watch kung fu? Let me show you real kung fu.” And he took me down to the Great Star Theater in Chinatown to watch Jet Li’s first movie, 「Shaolin Temple」. After it was over, he said “That is kung fu.” I was so enamored of it that I wanted to learn it for myself. So at age 11, I started learning wushu.

I was a hyperactive kid, and it took awhile for me to find the right teacher. My master was a Shaolin kung fu teacher, but he also taught tai chi, Chinese medicine, brush painting — he was adept at all facets of Chinese culture. It was great to be a Chinese American kid and absorb all of that. [Orinda,] the town I grew up in, was mostly Caucasian, so learning martial arts really brought me much closer to my roots. And because my master was this renaissance man, I wasn’t just learning a fighting style, I was learning how kung fu permeates all aspects of life, from eating to healthy living to mental state. I learned the philosophy behind it, which is an essential part of martial arts that I think often gets overlooked.

But you never had any intention to become an action star — or even an actor?

Not at all. I took a crazy path to get here. I graduated from university with a degree in architecture, and then ended up doing a series of internships with different firms. And once I was in an office environment, I realized that at school what I was doing was 98 percent creative, 2 percent makework, but in the real world, it was the other way around. I had an older classmate who worked for I.M. Pei. She ended up drawing the same window detail over and over for two years straight.

So I went on a soul-searching mission. It was 1997, and I decided to visit Hong Kong because this historical moment was happening, with the island being handed back to China. I made the mistake of going to Japan first, where I spent all of my money. By the time I got to Hong Kong I was broke. I was in this bar having a drink, depressed that I’d have to go straight back to the U.S., and this guy came up to me and asked if I wanted to be in a TV commercial. I asked how much, and they told me $4,000. And because I wanted to keep traveling, I took the money and did the ad. Well, this director, Yonfan, saw my commercial, and he called me in for an interview, and by the end of the conversation, he asked me to play the lead in his next film. I said to him, “Are you crazy? I don’t act, and I can’t even speak Cantonese!”

That same week, I ran into Jackie Chan at a party, and within a few minutes of talking, he told me he wanted to be my manager. “What, are you serious?” My mind was blown. I went from drinking in a bar to starring in a feature film and having the biggest star in Asia as my manager.

And it would never have happened that way in the United States.

Never. So after things started to take off in Hong Kong, I decided I’d stay there and build my career there as much as possible. I loved the vibe of filmmaking there — it’s much more intimate, you have these passionate people from all walks of life, from blue-collar to highly educated types, all working very closely together. Hong Kong had accepted me, and frankly, I thought I was just going to stay there.

You didn’t think about trying to come back and make it in Hollywood?

I knew from growing up that they wouldn’t put my kind of people onscreen. There were no decent roles for Asians, much less Asian males. Even when Jackie Chan broke through over here and people fell in love with him, they weren’t really seeing him as this iconic, superstar actor — they were seeing him as this cute, funny oriental dude who spoke broken English and did acrobatic tricks. As an Asian American male, what they were in love with is everything you hate, you know?

When they were premiering 「Rush Hour 2」, Jackie invited all of the artists his company managed to come to L.A. for the premiere, and at the premiere party a producer came up to me and said, “Oh, you’re an actor in Hong Kong? But your English is amazing!” And I said, “Oh, I was born here.” “Oh, you’re not from Hong Kong?” And he lost interest in me as soon as he knew I was from America, not Asia. He bought into the stereotype that all Asians are foreigners, that we all speak with an accent.

Well, that’s pretty much the only way Asians were depicted in movies in the ’80s and ’90s.

I grew up with 「16 Candles」, 「Long Duk Dong」, that shit. That character, for our generation, pretty much sealed the idea for a lot of Americans that all Asian people are like that.

Which brings us to 「Into The Badlands」: Sunny is definitely not like that.

It’s a movie that takes place in America. There’s no reason for it. Our goal was to take the typical wuxia film and set it in a future America, giving it a kind of Southern gothic vibe. We wanted to replicate the basic structure — the feudal society, the epic battles, the themes of loyalty and honor — but to do it as a mashup with tropes that people would feel were weirdly familiar.

How did you get involved with the project?

Well, the genesis of project came when Stacey Sher, one of our executive producers, ran into the head of production of AMC [Jason Fisher] at the premiere for the movie 「The Man with the Iron Fists」 [Wu Tang Crew rapper RZA and Eli Roth’s homage to classic Chinese martial arts films]. He told her, “Why isn’t anyone doing this on TV? We should try it.” And because I’ve worked with Stacey before, she gave me a call and said, “AMC wants me to do this thing, but I have no idea how. You’ve done it before. Can you really do this kind of action for TV?” And I told her, “Only if you use a Hong Kong team.

Stephen Fung [an executive producer and the series’ fight director] and I wanted to reference everything we liked growing up. Late ’80s and ’90s Hong Kong action movies—Tsui Hark and Jet Li, Jackie Chan. Some old-school Shaw Brothers stuff. And anime, like 「Fist of the North Star. Samurai films like 「Shogun Assassin」, because we saw the two main characters, Sunny and M.K., as wandering through this world like 「Lone Wolf and Cub」. And of course Bruce Lee. In a lot of ways, we saw this as righting the wrong that occurred when Warner Brothers cast David Carradine over Bruce Lee in 「Kung Fu」.

Casting a white guy who didn’t know martial arts over the Chinese guy who was one of the greatest martial artists in the world.

Yeah. From the beginning, we said that Sunny had to be Asian, and to their credit, AMC was totally down with that.

But you weren’t thinking of taking the role yourself.

No, not at all. I had my producer’s hat on, and I told them we had to find someone in their 20s or 30s, because if this show goes on for five or six years, the amount of fighting that has to be done is incredible — you’d need someone in their physical peak. I’m 41 now. I’ve worked with Jackie Chan, and I’ve seen the injuries he’s had, the pain he’s in. I stopped doing martial arts films in Hong Kong years ago, because as much as I love the genre, I tore an ACL, I broke an ankle — I realized it was not sustainable. So strictly for the show’s sake, I told them we really needed to get a young guy to do this.

[But] as we worked on this and the pilot was written and the character got fleshed out, I really fell in love with it. I finally gave in. And then it was training, training, training — it was hell.

Looks like the training worked.

You want to have legitimate action, you have to commit. And we wanted people to be amazed by how kickass the action was. But that’s just the tip of the iceberg — we knew that the fight scenes are what would draw people in, but the layered complexities of the storytelling, even the spiritual aspect of the plot, we wanted those to be clearly expressed in the show as well.

By spiritual aspect, do you mean the elements drawn from Chinese mythology?

Yes, because the plot is loosely, very loosely, inspired by 「Journey to the West」, the story of the Monkey King, who’s this rebellious, ornery character that eventually transforms into a buddha by the end of the story. The Chinese name for the Monkey King is Sun Wukong — Sunny. And the journey of the title has Sun Wukong tasked with guiding a monk to retrieve the wisdom of enlightenment. M.K. stands for Monk. But the parallels don’t get any more literal than that. 「Journey to the West」 has been adapted so many times that we didn’t want to rehash it — we just wanted to give our story a solid spiritual core. Sunny and M.K. are on a quest to escape the Badlands to reach this legendary city called Azra. Well, originally the city’s name was Nirvana, but we thought that was a bit too obvious.

For a spiritual story, there are some pretty steamy scenes.

Yeah, the relationships are important to the story. And it felt especially important to show an Asian male as having a sensual side. We all know the story of 「Romeo Must Die」, how Jet Li is the movie’s hero, and the whole time you see this connection developing between him and Aaliyah, who played the female lead. And in the last scene, Li was supposed to kiss her, but when they showed the movie to test audiences, people said they found that disgusting. In the version they released, you just see them give each other a hug. So I don’t want to say this is groundbreaking, because we need to make this a success yet, but it’s cool that we were able to right that wrong too. It’s been 15 years since 「Romeo Must Die」, and 40 years since 「Kung Fu」. That’s just ridiculous. But it’s Hollywood, so I’ll take it.

Jeff Yang is a columnist for the Wall Street Journal Online and a regular contributor to CNN, NPR and Quartz, but is best known as Hudson Yang's father.




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Dong Mi Lee 「Q&A: Activist Heezy Yang」

Posted on November 24, 2015 commentaires
Heezy expresses daily injustice.

Photograph: Blair Kitchener

Unfortunately, many sexual minorities are forced to act a different way in order to hide their sexual preferences. Heezy Yang, however, is one young man who couldn’t care less about outside prejudices and strives to fight against the world in his own witty and artistic way. In this Q&A, Time Out Seoul wanted to find out – what exactly is the message he wants to deliver? By Jamie

How would you introduce yourself?

People call me an artist or an activist. I draw illustrations, take pictures and put on various performances here and there. It was never my intent, but doing what I can do with the talent that I have, in a field that I know best, doing the work that I want to do – I naturally ended up in the LGBT scene.

Does that mean you were an art major?

In high school, I studied really hard and got into business school. Being a normal student at a university made me wonder what I really wanted to pursue. Finally, in the end I left my school and decided to walk the path I’m now walking.

What made you start doing street performances?

An organization for teenage [sexual] minorities called Dding Dong was the beginning of my performances. It’s a queer community founded recently to help students who were being bullied at school or kicked out of the house for coming out of the closet. They need finances to keep the place running, but in my opinion, the deeper issue that we need to get to is changing the way people view the LGBT community. That’s how I came up with the performance, 「Unjustifiable」.

What’s 「Unjustifiable」?

It's a street performance that has been featured in Hongdae, City Hall, Myeongdong and other places where lots of people pass by. This performance is expressing the injustice of a child suffering when they are kicked out of their home because of their gender identity.

What gave you the inspiration for the piece?

I wanted to share this message in a friendly, approachable way instead of being all scary and dark. I was inspired by the scene in 「Toy Story」, when Andy throws away Woody because he’s going off to college. It’s my witty way of expressing how unfair it is to abandon a child because they are gay, similarly to how we might toss out a bunny doll because it’s missing an eye. At first, people passing by were worried some haters might attack me or curse at me, but thankfully most of them [have] enjoyed this performance. (If this were to happen in Utah or in a country like India, this story would’ve been featured in the 8 o’clock News and not in Time Out.)

On the other hand, it seems 「Peter」 is a street performance in which you hold Mickey Mouse, Pororo and a rubber duck drenched in what looks to be blood. The Mickey Mouse, Pororo and rubber duck doll represent childhood purity, while the blood expresses the scars that have been inflicted as we live in reality. How would you compare it to 「Unjustifiable」?

「Peter」 was inspired by the fairy tale, Peter Pan. The dolls I hold in my arms represent the purity of childhood and passion that I’m holding on to. The blood that’s splattered all over my body expresses the stress and anxiety that people feel. I had a period when I struggled with depression and panic disorders. Actually, I’m still being treated for it, and because this isn’t just an issue for queers and gays, 「Peter」 can reflect myself as well as anyone who is living in today’s society.

Is there a reason why you are more active in the foreigner gay community rather than the Korean one?

If I think about it now, at the time it was a form of escape. So many people would look at my actions with such prejudice and negativity (because I’ve even received threatening messages through the dating app, Jack’d). So naturally, I migrated over to the community where foreigners, Korean-Americans and artist friends would communicate with an open mind. But now that I feel more confident in what I do, I’m trying my best to spread the message to the Korean community as well!

Do you have any plans for 2016?

I want to exchange thoughts with more people in various kinds of fields. I’m aware of the hurdles I may need to jump over, but that shouldn’t stop me! It’s because I believe that small attempts made by an artist like me can make a big difference to those who are in need of help.

Author: Dong Mi Lee/Date: November 24, 2015/Source: http://www.timeout.com/seoul/lgbt/q-a-activist-heezy-yang


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Marineros feat. Taiki & Hanako 「Cae la noche」

Posted on November 23, 2015 commentaires

Marineros feat. Taiki & Hanako 「Cae la noche」 - from『O Marineros』released on November 23, 2015.

Bon, malgré un clip tokyoïte un peu cliché (ah cette horrible typo) et au scénario bien dark (comme mon cœur), on aime bien cette chanson.

Ouh là, ça rigole pas avec les Marineros

Surtout on remarquera la présence du mannequin japonais Taiki Takhashi qui a fait (ou qui fera, puisque j'antidate les posts de ce blog) le buzz sur internet en s'affichant officiellement sur les réseaux sociaux en compagnie de son petit copain, le mannequin coréen Noah Lee.

Taiki & Noah, qu'ils sont mignons ❤️ (ah ça me donne envie de vomir tout ce bonheur 😖)

Ah et y'a aussi une jolie japonaise dans la vidéo.

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Gavin Blair 「From Tokyo to Taipei, a growing acceptance for LGBT people」

Posted on November 22, 2015 commentaires
Revelers participate in a gay pride parade in Taipei, Taiwan, Oct. 31, 2015. Thousands took to the streets in support of gay pride in Taiwan last month. Chiang Ying-ying/AP

In a region imbued with the Confucian ideals of filial respect and saving face, the toughest battles are within families.

Tokyo – When it come to homosexuality, the Confucian cultures of East Asia can be quite conservative, though they don’t share the religious or moral objections of Judeo-Christian-Islamic countries.

But across a region becoming steadily more urban and cosmopolitan, lesbian, gay, bisexual and transgender people (LGBT) communities are experiencing a changes in attitudes and a greater legal recognition that echoes the trend in the West towards much greater acceptance of equality.

Last weekend some 80,000 people from around East Asia converged on Taipei for the Oct. 31 Taiwan Pride parade, the biggest such event in the region. It was followed by a record 10,000 marchers in the Hong Kong Pride Parade. In Japan, that same November evening saw the broadcast of 「Transit Girls」, the first TV drama here about a lesbian couple.

To be sure, for many LGBTs in a region imbued with the Confucian ideals of filial respect and saving face, the toughest battles remain within families. Still, the overall shift seems clear across this diverse region, and is partly due to the influence of the West, including the legalization of same-sex marriage in the US and Ireland. Local media portrayed these changes as a progressive trend that the rest of the world will inevitably follow.

Rising acceptance among Korean youth
Earlier this year, two districts of Tokyo announced they would issue same-sex marriage certificates; the first couple had their union recognized in Shibuya on Nov. 5. The certificates are not legally binding, but rather recommending a set of greater rights, such as visitation rights to same-sex partners in hospitals and nondiscriminatory treatment by realtors.

South Korea is something of an outlier in the region: Conservative evangelicals groups succeeded this summer in halting a gay pride parade in Seoul, even though the rest of the Korean Queer Culture Festival went ahead.

Still, among youth in Korea, 71 percent of those between 18 and 29 said “homosexuality should be accepted,” according to a Pew Research Center poll this year. That figure is just ahead of the equivalent among US youth, and fewer than the 83 percent of young Japanese who agreed.

The absence of overt gay-bashing or other strident opposition in most of East Asia may actually have slowed down the equality battle, some activists say. “There’s no violent discrimination against us here; nobody throwing stones or trying to kill us,” said Yuki, a gay Tokyoite who nevertheless asked to be identified only by his first name. “There’s never been a law against gays in Japan.”

“A lot of gay men in Japan would rather lead a double life,” Yuki added. “Many Japanese gay men went to Taipei to walk in the parade, but would be afraid to do so here.”

Yuki practices a form of “don’t ask, don’t tell” in his family. His mother has met his boyfriend numerous times, but he has never discussed his sexuality with her.

Masahiro Kikuchi (not his real name) has come out to his parents. But he has not yet confided to his older sister, whose reaction he worries about because she has two sons. Mr. Kikuchi works at a Japanese finance company, where he says it would be impossible to be openly gay.

“They showed a video earlier this year at my office to educate staff about gay issues. It told people to be aware there might be someone gay sitting next to you at work,” said Kikuchi. “I was sweating and just hoping nobody was looking at me.”

China documentary pulled from website
Societal and familial acceptance is a recurring theme for LGBT people. It’s also the subject of 「Mama Rainbow」, a 2012 documentary by Chinese filmmaker Fan Popo, focused on six mothers learning to love their gay children. The film was taken down from streaming sites in China last year, and Mr. Popo is suing the censors over its removal.

Attitudes in China are similar to the rest of the region, according to Popo, with no violent discrimination. But many people refuse to believe there are LGBT members in their family.

“But on LGBT issues, we are influenced more by the US than other East Asian countries. When same-sex marriage was legalized [in the US] it was big news in China, a lot of people changed their social media profiles to rainbows,” said Popo.

Nevertheless, Popo believes that an anti-discrimination law would be more powerful in China than legalization of same-sex marriage.

Across the sea in Taiwan, Jay Lin decided it was time to come out to his parents last year when he launched the Taiwan International Queer Film Festival. He had already lived for two decades as a gay man. Mr. Lin believes that changes in attitudes are more important than legal reform since without an accompanying change in social views it could bring a backlash.

“You need to allow people in families, in which it is so important to avoid shame in Chinese-Taiwanese culture, to come to terms with it,” Lin says. “If a lot of people are not out to parents ... gay marriage is not going to work,” said Lin.

He added that having begun to think about starting a family, the idea of doing so in Taiwan without the acceptance and involvement of parents and grandparents “is farcical.”



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Hana Beach 「‘Banana’ magazine shines a light on Asian creatives」

Posted on November 18, 2015 commentaires
Co-founders Vicki Ho and Kathleen Tso discuss media representation, Aziz Ansari, and what’s in store for issue two.

Cover Artist: Greg Foley

Growing up, Vicki Ho and Kathleen Tso didn’t have many celebrity role models that shared their racial identity. “Kaity Tong, the anchor from old school WB11 evening news. She was bae. Literally the only Asian on TV,” says Vicky. And, when Asians did get leading roles, they often played stereotypical nerds or exaggerated caricatures of their culture. The failure of Margaret Cho’s 1994 sitcom 「All American Girl」 to appeal to a broad American audience left a void of Asian-American representation in the media that ultimately drove Vicky and Kathleen to distance themselves from their Asian heritage. Though New York City and suburban Texas – where the girls lived as kids – are worlds away, Vicki and Kathleen’s similar experiences led them to create『Banana』, a magazine that focuses on being Asian and growing up in millennial America.

The release of『Banana』’s second issue this winter coincides with a breakthrough moment for Asian-Americans in popular culture. Aziz Ansari’s sitcom, 「Master Of None」, just hit Netflix and Eddie Huang’s loved/hated 「Fresh Off The Boat」 began its second season early this fall. The magazine serves the dual purpose of featuring Asian artists, chefs, actors and designers, and also creating a community of creative Asians.『Banana』is a place to embrace, appreciate, and celebrate, in Kathleen’s words, “bomb-ass Asians.”

How do you choose your subjects and contributors?

Kathleen Tso: We’ve had the luxury of a lot of these subjects coming to us. Since the community is equally as passionate as we are, we get amazing pitches all the time. We also reach out to people who are personally inspiring to us as well.

Vicki Ho: What’s special about『Banana』is that it showcases a slice of life that no one really sees in the Asian community – the creative class. So whether it’s who we profile or who contributes to the magazine, we look for talent that will help push this class into the limelight.

Who have you been most excited to feature?

KT: My mom! Stay tuned for issue two.

VH: Wilson Tang, the founder of Nom Wah Tea Parlor in NYC’s Chinatown, whom we profile in issue two. He’s a straight-up boss.

How represented (or not) are Asians in the media right now? And how is that changing, if at all?

KT: It’s pretty obvious that we’re not fully present in the media now. However, with shows like 「Fresh Off The Boat」 and now Aziz Ansari’s 「Master Of None」, we’re making progress.

VH: There’s progress. There are definitely more Asians in the media to look up to now than when we were growing up. The biggest change I see is that Asians who have a place in media don’t need to stick to stereotypes anymore; they can be themselves and their opinions and talent are respected across the board.

There were more models of color on the runway during this most recent New York Fashion Week than in past seasons – how represented do you feel Asian models are in fashion?

VH: I work in the fashion industry so, sure, I see better representation than before. I think runway shows like Made and V Files help push the envelope because they are so full of diversity and different perspectives. But on a national scale and on a consumer level? There’s a hell of a long way to go.

What can we expect from the second issue?

KT: A redesign, more thoughtful content and another fun cover! This may be a little biased, but my favorite feature was written by my sister. It’s about non-Asians hitting on Asian girls. It’s going to be accompanied by a comic illustrated by Louie Chin. It’s hilarious and way too true.

VH: I’m super psyched about our feature on fashion designer Sandy Liang. The images and collection are stunning, and the profile isn’t the typical “what’s your fall inspiration?” story. It’s about Sandy as a person, and as a first-generation Asian-American in this industry.

As first-generation Asian-Americans yourselves, how did you relate to your classmates growing up?

KT: I grew up in a predominantly white suburb in Texas so it was a challenge to relate to my peers. It’s sad but I attempted to shed ties with Chinese culture and focused on American culture to fit in as much as possible. I hated being different. I remember wishing that my name was “Katie Smith,” so I could just blend in. Or I wished that I had been raised in Taiwan (where my parents grew up) so I could feel “normal.” It bums me out that I had these thoughts.

VH: I had a different experience growing up but somehow came to the same struggles as Kathleen. I was raised in Brooklyn in a predominantly Asian community but all I wanted was to stand out from my peers. I also wanted to shed my Chinese culture at one point. I’m super pale and remember I used to lie to people that I was half white so that I could stand out and be “American.”

It was these stories of growing up that brought Kathleen and I together to create『Banana』. We were both so confused about accepting our culture growing up and only now as adults have we become truly appreciative and proud of it. Hopefully『Banana』can help other Asians come to this conclusion way quicker than we did.

You can pre-order the second issue here.

banana-mag.com

Credits
Text Hana Beach
Images courtesy『Banana』

Connect to i-D’s world! Like us on Facebook, follow us on Twitter and Instagram.

Author: Hana Beach/Date: November 18, 2015/Source: http://i-d.vice.com/en_us/article/banana-magazine-shines-a-light-on-asian-creatives



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Neon Bunny 야광토끼 「Romance In Seoul」

Posted on November 17, 2015 commentaires

Neon Bunny 「Romance In Seoul」 - released on November 17, 2015.

Inspired by Jazz greats Ella Fitzerald and Dinah Washington and their 1950's renditions of the song 「Manhattan」, Neon Bunny returns with single 「Romance In Seoul」. Hazy, windswept, elegant and dreaming, the track is a tangle of keys, strings, field recordings and feather-light vocals.

Released by Cascine's singles label, CSCN: http://cascine.us


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Margaret Cho 조모란 「(I Want To) Kill My Rapist」

Posted on November 10, 2015 commentaires

Margaret Cho 「(I Want To) Kill My Rapist」 - released on November 10, 2015.

Directed by Bryan Mir
Co-Director/DP, Ben Eisner
Produced by Briana Gonzales
Executive Producer, Margaret Cho
Assistant Director, Cue Denicki
Editing & Coloring, Betty Allen / Blend Studios
1st AC/Camera Op, Zach Salsman
2nd AC, Brian Glenn
DIT, Amber Nolan
Gaffer, Zafer Ulkucu
Best Boi Lighting, Brooks Heatherly
Grip, Ashley Layne
Grip, Carlos Camacho
Best Boi Grip, Marco Lopez
Makeup, Ashley Gomila
Hair, Irene U
Art Department, Elaine Carey
Ropes Course/Climbing Wall Instructor, Josh Lederach
Ropes Course/Climbing Wall Instructor, Brian Spiegel
Production Assistants: Abigail Eisner, Marcel Alcala

Starring: Margaret Cho, Hye Yun Park, Kate Willett, Selene Luna, Jackson Hurst, Arne Gjelten, Lisa McNeely, Emilia Black, Karen Barraza, Paris Bravo, Emma Wages, Stevie Knapp, Zoe McGaha, Melody Thi, Oceane Rico, Meadow Rico, Akyra Carter, Kimura Carlsten, Sophia Kasbaum, Otto Blackwelder.

Song Written by Margaret Cho, Andy Moraga, and Roger Rocha

Special Thank You to: Andy Moraga, Noelle and Harry Knapp, Kris McGaha, Eban Schletter, Bonnie Wages, Jessica Bravo, Kim Huynh, Christy Rico, Jody Taylor, Roxanne Carlsten, Surbhi Kasbaum, Net Suki, Robert Rivas, Sonny Echevarria, Brooks McCall, Andy Kimmelman, Monica Owen, Chris Neville, Kate Mullen, Stacy Hurst

Original Peony Art: J Bird

Muzak version of Kill My Rapist: Damian Valentine Music

FOR ROSE MCGOWAN


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